Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from East Timor and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1971.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Columbus kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Matthew Bourne to the techno kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by James White and The Blacks. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Fluxion,
X-102,
Rekid,
Supertramp,
Radiopuhelimet,
New Age Steppers,
Franke,
The United States of America,
AZ,
Fela Kuti,
Peter Gordon & Love of Life Orchestra,
MDC,
Brand Nubian,
Harmonia,
Wolf Eyes,
The Toasters,
Newcleus,
The Buckinghams,
Cheater Slicks,
Lou Reed & John Cale,
8 Eyed Spy,
Lyres,
Byron Stingily,
Con Funk Shun,
E-Dancer,
Mandrill,
Derrick Morgan,
Neil Young,
Shuggie Otis,
Pagans,
The Cramps,
The Peanut Butter Conspiracy,
Half Japanese,
Eve St. Jones,
Sex Pistols,
Oblivians,
Quando Quango,
The New Christs,
Bobby Byrd,
Eyeless In Gaza,
Nik Kershaw,
Panda Bear,
Oneida,
Whodini,
Bizarre Inc.,
Rufus Thomas,
The J.B.'s,
Joy Division,
Sam Rivers,
Yaz,
Crash Course in Science,
Kas Product,
Anthony Braxton,
The Cosmic Jokers,
The Standells,
a-ha,
Soulsonic Force,
Sandy B,
Rapeman, Rapeman, Rapeman, Rapeman.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.